*** Cancelled ***Friday March 13 2020 9:00PM *** Cancelled ***
Carl joins with Ulrich Krieger for a shared evening of solos and duos at Experimental Intermedia (EIF), the place where Carl held his New York debut 43 years before.
Experimental Intermedia Foundation
224 Centre St # 3 New York, NY
*** Cancelled ***Friday March 20 2020 8 PM*** Cancelled ***
Carl performs at High Low which is the Kranzberg Arts Foundation’s literary arts cafe. The event space inside the building has state of the art audio and visual, a full-service bar, and a professional box office,
Details to come soon!
3301 Washington Ave St Louis MO 63103
Saturday March 21 2020 7:00 PM
Carl’s official South by Southwest performance debut. Each year in Austin, Texas, the SXSW Music Festival brings artists, fans and music professionals together with film and tech industry creatives for a unique celebration, discussion and exploration of music — discovering new talent, making personal and business connections and enjoying a week of great live performances. Carl’s performance is on the penultimate day of the festival in a showcase event that includes Fennesz, Astrid Sonne and others. Presented by Qobuz.
Primary Entry: Music Badge, Platinum Badge
Secondary Entry: Music Festival Wristband, Artist Wristband
Central Presbyterian Church
200 E 8th St, Austin, TX 78701
Sunday March 22 2020 4PM open 5PM start
Carl extends his stay in Austin with a performance at the Carpenter Hotel. The evening promises to be most intriguing. Carl starts near the top of the evening due to promises made to the organizers at SxSW. So come early and stay late!
4:15 pm – Little Mazarn
5:00 pm – ST 37
6:00 pm – Carl Stone
7:00 pm – Garrett T. Capps y NASA Country
7:45 pm – Thor & Friends
8:00 pm – Tara Bhattacharya Reed
8:45 pm – Chromic
400 Josephine St, Austin, TX 78704
Thursday March 26 2020 8PM
Carl’s San Antonio debut! Also on the bill will be sound artist and fellow CalArts graduate, Justin Boyd.
Presa House Gallery
725 S. Presa, San Antonio, Texas 78210
*** Cancelled ***Friday March 27 2020 Open 7:00PM Start 7:30 PM*** Cancelled ***
Carl joins once again with the great Soo Yeon Lyuh, whose instrument is the haegum, from Korea, This traditional Korean string instrument, resembles a fiddle. with a thin straight neck, a hollow wooden soundbox, and two silk strings, held vertically on the knee of the performer and played with a bow. in the hands of master musicvan Soo Yeon Lyuh it is one of the most expressive instruments on the planet.
3111 Deakin Street, Berkeley CA
Map (English) at here
***Cancelled*** Monday March 30 2020 8:30 PM ***Cancelled***
Carl wraps up his US tour in LA with percussionist extraordinaire Booker Stardrum as a guest for an evening that concludes Stardrum’s five week residency at Zebulon, now the premiere venue for new music in Los Angeles. Also featured for the evening will be a quartet performance featuring Booker + Ben Babbitt + Celia Hollander + Jeremiah Chiu, as well as a solo performance by Ahnnu. You will want to be there!
2478 Fletcher Dr, Los Angeles, CA 90039, USA
Sunday April 26 2020 20h00
Carl’s Dublin debut! Opening the evening will be Jane Deasy, a composer and performer working across various forms including theatre, installation and radio. She composes both electronic and electroacoustic music exploring the boundaries between music and theatre. Hosted by Enthusiastic Eunuch Promotions and The Sound House
Buy Tickets Online
The Sound House
1st Floor, 28 Eden Quay, North City, Dublin, D01 DE44
Carl Stone made the wise decision to split his latest creations over several releases.
Carl Stone Himalaya Unseen Worlds CD/DL/2xLP
It takes 35 minutes to reach the summit of Carl Stone’s new Himalaya. To arrive there, you ascend through manically cut up and overlaid Afrobeats, funk and hiphop grooves together with a tasty disco riff that reassembles the very molecules of your being. Then, having hit the apex, Stone throws you into idyllic freefall for the next half hour, into a balmy environment of slow moving and ethereal tones, music that is as voluminous and prayer-like as the opening part is compacted and hedonistic.
The relationship between Himalaya and Stone’s release from earlier this year, Baroo, mirrors that between Miles Davis’s Bitches Brew and In A Silent Way – the later album building on the textural and harmonic palette of all that went before, while clawing open fresh expressive possibilities. The opening piece “Han Yan” tells you what to expect as high-speed Afrobeats hallucinate on their own existence. Musically, two things are happening. Stone has the beats on intense fast-forward, while little microedits snip out crucial supporting notes in the harmony, which spins the music relentlessly forwards – it has no brakes.
A strutting rock beat kick-starts “Bia Bia” before it lurches towards ebullient chaos, with broken-up trumpet fanfares randomly puncturing the texture like Lester Bowie is wandering in and out of earshot. “Kikanbou” is grounded by a mesmeric disco beat that keeps rolling for 17 minutes, a motor around which auxiliary beats circle. Around the six minute mark, and for no other reason than he can, Stone suddenly turns everything upside down and inside out, and upside out and downside up, leaving beats coiling in other directions and soaring upwards. The world’s pop music has become putty in Stone’s hands. Each piece could, in theory, keep reassembling its particles infinitely. But Stone applies his composerly voice with a noticeably light touch, making conscious decisions about his material without ever suffocating its freedom.
Had he signed off after “Kikanbou” Himalaya would still have been exceptional, but the final glide through spacious textures and rarefied tunings – leading towards intonations from the Japanese vocalist Akaihirume – reconnects your soul with the stuff of sound itself as you ruminate on an epic journey, both exhilarating and affecting.
The Wire December 2019
Happy to report, The Wire’s review of Himalaya, my latest release, is pretty much a rave.
Excerpt: It takes 35 minutes to reach the summit of Carl Stone’s new Himalaya. To arrive there, you ascend through manically cut up and overlaid Afrobeats, funk and hiphop grooves together with a tasty disco riff that reassembles the very molecules of your being. Then, having hit the apex, Stone throws you into idyllic freefall for the next half hour, into a balmy environment of slow moving and ethereal tones, music that is as voluminous and prayer-like as the opening part is compacted and hedonistic.
The relationship between Himalaya and Stone’s release from earlier this year, Baroo, mirrors that between Miles Davis’s Bitches Brew and In A Silent Way – the later album building on the textural and harmonic palette of all that went before, while clawing open fresh expressive possibilities.
You can read the entire review here, or of course in The Wire’s December 2019 issue.